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California 

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THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 
LOS  ANGELES 


AN   INTRODUCTION 


VERSE  OF  TERENCE 


BY 


H.  W.  HAYLEY,  Ph.D. 

(harvard) 


BOSTON,  U.S.A. 
GINN    &    COMPANY,     PUBLISHERS 

1897 


Copyright,  1894, 
Bv    H.    W.    HAYLEY. 


ALL   RIGHTS   RESERVED. 


678  f- 
#33 


TO 

fl>iof.  m.  S.  Cijler, 

THE    NESTOR    OF  AMERICAN    SCHOLARS,   THIS 

LITTLE    BOOK    IS    GRATEFULLY 

DEDICATED. 


611007 

CLASSICS 


PREFACE. 


This  little  work  is  intended  for  the  use  of  college 
students  who  are  reading  Terence.  Its  object  is  not  to 
present  any  new  or  original  discoveries,  but  simply  to 
state  clearly  and  concisely  the  facts  most  important 
for  the  student  of  Terentian  verse  to  know.  In  treating 
of  the  iambic  metres  anacrustic  schemes  have  been 
rigidly  avoided,  as  experience  has  shown  the  writer  that 
unless  the  student  has  a  knowledge  of  modern  musical 
theory  (which  cannot  be  assumed  in  the  case  of  all), 
they  are  confusing  and  misleading.  The  text  followed 
in  making  citations  has  been  that  of  Dziatzko  (Leipzig, 
Tauchnitz,  1884).  I  have  selected  and  adapted  from 
numerous  sources  whatever  was  suited  to  my  purpose, 
and  wish  to  make  full  and  free  acknowledgment  of  my 
indebtedness,  especially  to  the  following  :  Dziatzko's 
excellent  introduction  to  his  Phormio  (2d  ed.,  1885), 
on  which  this  work  is  in  great  part  based  ;  Spengel's 
introduction  to  his  edition  of  the  Andria  (2d  ed.,  1888); 
Mueller's  Plautinische  Prosodic ;  Klotz's  Altroviische 
Metrik;    Christ's  Metrik;   and  numerous   special   works 


vi  PREFACE. 

on  the  versification  of  Terence,  such  as  those  of  Conradt, 
Meyer,  Spengel,  Luchs,  Brugmann,  and  others.  I  have 
also  made  free  use  of  the  standard  Latin  grammars. 
One  rule  (no.  6,  sec.  29)  is  taken  from  the  new  edition  of 
Professor  Gildersleeve's  grammar  (1894),  though  I  have 
ventured  to  slightly  change  the  wording.  My  special 
thanks  are  due  to  Professors  Smith,  Allen,  and  Howard 
of  this  university  for  valuable  criticisms  and  suggestions. 
It  is  the  sincere  hope  of  the  author  that  the  little  work 
may  prove  of  practical   utility   to  students   of  Terence. 

II.  W.  HAYLEY. 
Cambridge,  Sept.  29,  1894. 


AN  INTRODUCTION  TO  THE  VERSE 
OF  TERENCE. 


I. 

i .  Before  taking  up  the  study  of  the  different  metres 
employed  by  Terence,  the  student  should  familiarize 
himself  with  certain  peculiarities  of  early  Latin  prosody. 
The  most  important  of  these,  as  they  appear  in  Terence, 
are  the  following  :  — 

2.  In  certain  final  syllables  the  original  long  quantity  of 
the  vowel  is  sometimes  retained.  So  in  the  ending  of  the  3d 
pers.  sing.  perf.  indie,  act.,  e.g.  stetit,  Phor.  9  ;  and  once  in 
the  ending  of  the  3d  sing.  pres.  subj.  act.  augeat,  Ad.  25. 

It  is  doubtful  whether  Terence  does  not  sometimes  retain  final  a 
in  the  nom.  and  voc.  sing,  of  Greek  proper  names  of  the  first 
declension  ;  but  there  seems  to  be  no  certain  instance  of  this. 
Cf.  And.  301 ;  Heaut.  406,  68S,  695  ;  Eun.  558,  708;  Phor.  179, 
784,  830,  865,  1037  ;  Hec.  243,  325,  830;  Ad.  343,  619.  Accord- 
ing to  Spengel  (note  on  Ad.  perioch.,  1.  10),  the  Latin  comic 
poets  never  shorten  the  nominative  ending  a  in  Greek  proper 
names  of  three  or  more  syllables ;  but  see  Dziatzko's  note  on 
Phor.  830  and  the  authorities  there  cited.  Spengel  also  holds 
that  an  original  ?  is  sometimes  retained  by  Terence  in  the  abl. 
sing,  ending  of  the  third  declension,  e.g.  virgine  dari,  Ad.  346 ; 
but  this  is  more  than  doubtful.     See  Dziatzko's  note  ad  toe. 


2  AN  INTRODUCTION  TO 

3.  In  Terence,  as  in  Plant  us,  a  syllable  ending  in  a 
short  vowel,  followed  by  a  mute  and  1  or  r,  is  regularly 
short;  i.e.  a  mute  before  /  or  r  does  not  "make  position," 
e.g.  patrem,  And.  410. 

4.  In  early  Latin  final  s  was  very  faintly  sounded, 
and  hence  it  often  does  not  "  make  position "   though  the 

following  word  begins   with   a  consonant;   e.g.   And.  599 
nulltis  sum,   Phor.  10  magis  stetisse,  Ad.  706  opiis  sunt. 

This  usage  prevailed  down  to  the  time  of  Cicero,  and  is  found 
in  his  own  youthful  poems  (as  well  as  in  Varro  and  Lucretius, 
and  once  in  Catullus,  116,  8);  but  in  his  Orator  (161)  he 
speaks  of  it  as  being  already  a  little  out  of  fashion. 

5.  In  early  Latin  until  the  time  of  Ennius  double 
consonants  were  not  regularly  written,  and  the  pro- 
nunciation of  words  like  ille,  quippe,  etc.,  seems  to  have 
fluctuated.  Plautus  often  treats  the  first  syllable  of 
these  words  as  short.  Terence,  who  was  influenced  by 
the  reforms  of  Ennius  (see  Teuffel's  Hist,  of  Roman 
Lit.,  §  93),  is  more  strict,  but  sometimes  shortens  the  first 
syllable  of  ille,  immo,  and  quippe.  This  usually  occurs 
in  a  resolved  arsis1  at  the  beginning  of  an  iambic  verse; 
e.g.  Ad.  72  ille  quern,  Phor.  936  immo  vero. 

6.  The  m  in  nempe  and  omnis,  and  the  n  in  inde, 
were  faintly  sounded,  and  at  the  beginning  of  an   iambic 


1  Throughout  this  paper  the  word  "  arsis "  is  used  to  denote 
the  weak  or  unaccented  part  of  the  foot,  and  "  thesis  "  to  denote 
the  part  which  has  the  musical  accent. 


THE    VERSE   OF  TERENCE.  3 

verse  the  first  syllable  of  these  words  is  sometimes  short ; 
e.g.  Phor.  307  nempe  Phdrmionem,  Hec.  867  omnia 
dmnes,    Phor.  681  inde  sumam. 

7.  A  LONG  SYLLABLE,  PRECEDED  BY  A  SHORT,  IS 
SOMETIMES  SHORTENED  WHEN  THE  VERSE-ICTUS  IMME- 
DIATELY precedes  it  (the  long  syllable)  or  follows  it  ; 
i.e.  ^  _  is  measured  as  ^  w.  The  short  that  precedes 
the  long  which  is  to  be  shortened  must  be  a  mono- 
syllable or  begin  a  word. 

Dziatzko  distinguishes  the  following  cases  in  which 
such  a  shortening  may  take  place  :  — 

8.  (1)  In  iambic  dissyllables  :  (a)  when  the  verse- 
ictus  falls  on  the  first  syllable,  as  And.  255  abi  domum, 
Phor.  342  prior  bibas,  Ad.  198  ddmo  me;  (l>)  when  the 
ictus  falls  on  the  first  syllable  of  the  next  word,  e.g. 
Phor.  113  enim  se,  Ad.  618  erat  mi'ssa. 

There  is  no  doubt  that  in  the  case  of  these  words  the  word- 
accent  cooperates  with  the  verse-ictus  to  produce  the  shorten- 
ing. The  Latin  had  a  strong  tendency  to  shorten  the  last 
syllable  of  iambic  dissyllables  having  the  word-accent  on  the 
first  syllable.  This  tendency  is  seen  in  modo,  puta,  bene, 
male,  mihi,  tibi,  sibi,  ubi,  etc. 

9.  (2)  In  a  monosyllable  (or  word  which  has  become 
such  by  elision)  preceded  by  a  short  monosyllable 
(or  word  which  has  become  monosyllabic  by  elision): 
(a)  when  the  verse-ictus  falls  on  the  first  of  the  two 
monosyllables,     e.g.     Phor.     209     quid     hie     conterimus. 


4  AN  INTRODUCTION  TO 

Heaut.  1032  cave  in  te,  Ad.  236  quod  ad  te ;  (b)  when 
the  verse-ictus  falls  on  the  syllable  that  immediately 
follows  the  second  monosyllable,  as  Phor.  150  et  ad 
portitores,  Heaut.  1040  et  fit  serves,  Ad.  399  modo 
tit  mine. 

10.  In  the  cases  thus  far  enumerated  it  makes  no 
difference  whether  the  syllable  to  be  shortened  is  long 
from  position  or  from  the  natural  length  of  its  vowel ; 
but  in  the  following  cases  only  syllables  long  by  position 
are  shortened  :  — 

11.  (3)  The  first  syllable  of  a  word  of  more  than  one 
syllable  preceded  by  a  short  monosyllable  (or  word 
which  has  become  monosyllabic  by  elision)  :  (a)  when 
the  verse-ictus  falls  on  the  monosyllable,  as  Heaut. 
256  se'd  eccos,  Phor.  800  quid  istuc,  ib.  809  ad 
ipsam ;  (b)  when  it  falls  on  the  second  syllable  of  the 
other  word,  as  And.  66  sine  invidia,  Phor.  143  vel 
occi'dito. 

12.  (4)  The  second  syllable  of  a  polysyllable  begin- 
ning with  an  iambus :  ((7)  when  the  verse-ictus  falls  on 
the  first  syllable  of  the  word,  e.g.  Heaut.  1025  voliintate ; 
(b)  when  it  falls  on  the  third  syllable,  as  And.  960 
voluptates. 

This  kind  of  shortening  is  rare  in  Terence.    According  to  Spengel 
there  are  only  nine  certain  instances  of  it,  and  one  doubtful 


one. 


THE    VERSE   OF  TERENCE.  5 

13.  A  monosyllabic  ending  with  a  long  vowel  or  with  m 
is  sometimes  not  elided  before  a  following  vowel  or  h,  but 
used  as  a  short  syllable  with  the  verse-ictus;  e.g.  Phor.  27 
qui  aget,  419  ne  agas,  808  quam  ego. 

14.  Synizcsis  is  very  frequent,  especially  (1)  in  certain 
words  in  very  common  use,  like  meus,1  tuus,  suus, 
quoius,  huius,  as  And.  210  eius,  huius,  843  meo,  487  deos, 
705  die's,  765  quoius;  (2)  in  compounds2  like  antehac, 
proinde,  dehinc  (always),  praeut,  etc. 

15.  Hiatus  is  admitted  (1)  after  interjections,  e.g. 
Phor.  411  hahahae',  homo;  (2)  when  there  is  a  change 
of  speakers,  e.g.  Phor.  146;  (3)  at  the  end  of  the  fourth 
foot  of  the  iambic  septenarius  when  there  is  a  diaeresis 
after  the  fourth  foot,  e.g.  Heaut.  688,  Hec.  830. 


II. 

16.  The  versification  of  Plautus  and  Terence  appears 
careless  and  irregular  when  compared  with  that  of  the 
poets  of  the  Augustan  age ;  but  nevertheless  it  conforms 
pretty  strictly  to  certain  laws.     These  laws  were  soon 

1  Some  excellent  authorities,  notably  Spengel,  hold  that  synizesis 
should  be  mainly  restricted  to  cases  in  which  a  short  vowel  is  subor- 
dinated to  a  following  long  one,  as  in  tuis,  and  that  two  short  vowels 
always  retain  their  dissyllabic  measurement. 

2  This  is  often  treated  as  a  species  of  elision. 


6  AN  INTRODUCTION  TO 

forgotten  ;  and  even  in  the  time  of  Cicero  the  senarius 
(which  is  the  easiest  and  most  common  of  the  metres 
employed  by  the  comic  poets),  seems  to  have  given 
difficulty  (Orator  184).  As  time  went  on  the  difficulty 
increased.  The  verse  of  Plautus  and  Terence  came  to 
be  looked  upon  as  an  enigma  to  which  scholars  did  not 
have  the  clue.  It  is  only  within  the  present  century 
that  most  of  the  laws  of  the  early  scenic  versification 
have  been  discovered  and  formulated.  Bentley,  Gott- 
fried Hermann,  Corssen,  and  others  investigated  many 
points  and  cleared  away  many  difficulties ;  but  by  far 
the  greatest  part  of  the  work  was  done  by  Friedrich 
Ritschl  and  his  school.  The  first  thorough  and  com- 
prehensive treatise  on  the  versification  of  Plautus  was 
the  "  Plautinische  Prosodie"  of  C.  F.  W.  Mueller,  which 
is  still  one  of  the  best  authorities.  No  equally  satisfac- 
tory treatise  on  the  verse  of  Terence  has  yet  appeared. 
For  the  more  recent  literature  on  the  metres  and  met- 
rical peculiarities  of  Terence,  see  Teuffel's  Hist,  of 
Roman  Lit.,  §111,  note  7. 

17.  The  versification  of  Terence  is  smoother  and 
more  elegant,  but  weaker  and  more  monotonous,  than 
that  of  Plautus.  The  earlier  poet  employs  a  great  variety 
of  metres,  while  Terence,  except  in  three  passages  (And. 
481  ff.,  ib.  625  ff.,  Ad.  610  ff.),  confines  himself  exclu- 
sively to  iambic  and  trochaic  verse.  Terence  also  con- 
forms   somewhat    more    closely   to    the    Greek   metrical 


THE    VERSE    OF  TERENCE.  7 

standards,  as  might  be  expected  of  one  who  had  lived 
amid  the  scholarly  influences  of  the  Scipionic  circle. 
But  in  general  the  versification  of  Terence  has  much  the 
same  characteristics  as  that  of  Plautus. 

18.  When  the  verse  of  Plautus  and  Terence  is  com- 
pared with  that  of  the  Greek  comedy,  it  is  obvious  that 
substituted  feet  occur  more  frequently  in  the  former 
than  in  the  latter.  This  is  in  part  because  the  early 
Latin  poets  did  not  understand,  or  at  any  rate  did  not 
fully  imitate,  the  dipodic  structure  of  the  Greek  iambic 
and  trochaic  verse,  and  hence  made  little  or  no  differ- 
ence between  the  odd  and  even  feet.  The  very  names 
senarius,  septenarius,  and  octonarius  show  that  these 
verses  were  regarded  as  groups  of  six,  seven,1  and  eight 
separate  feet  respectively,  rather  than  of  three  or  four 
dipodies  (cf.  Tpintrpos,  TeTpa/Acrpos).  Accordingly  we  find, 
for  example,  that  in  the  iambic  trimeter  Plautus  and 
Terence  admit  the  irrational  spondee,  apparent  dactyl, 
and  proceleusmatic  in  the  first  five  feet ;  while  the  Greek 
comedians  (who  in  their  turn  are  less  strict  than  the 
Greek  tragic  poets)  allow  the  irrational  spondee  and 
apparent  dactyl  only  in  the  odd  feet,  and  scarcely  ever 
admit  the  proceleusmatic.  It  is  the  frequency  of  the 
substitutions  that  makes  the  verse  of  Plautus  and  Ter- 
ence often  seem  so  harsh  and  irregular. 


1  I.e.  seven  complete  feet,  not  reckoning  the  half-foot. 


8  AN  INTRODUCTION  TO 

19.  But  in  iambic  and  trochaic  verse  these  substitu- 
tions follow  pretty  strictly  the  following  law :  resolved 
arses  and  theses  usually  have  their  first  syllable  beginning 
a  7vord,  or  are  wholly  enclosed  within  a  word.  Occasional 
exceptions  occur,  as  And.  23  maledicere'  malefacta, 
Heaut.  1055  omnia  faciam,  Ad.  346  virgine  dari ;  but 
these  are  rare. 

In  consequence  of  this  law  a  dactylic  word  with  the  ictus  on  the 
penult  (e.g.  corpore)  seldom  occurs  in  trochaic  and  iambic 
verse.  So  too  in  a  proceleusmatic  (v/  \j  \j  \y)  the  ictus-syllable 
generally  begins  a  word. 

20.  Another  law  which  is  generally  observed  by  Ter- 
ence is  the  so-called  "  dipodic  law "  of  Meyer,  which 
may  be  stated  thus :  If  the  second  arsis  of  an  iambic 
dipody,  or  the  first  arsis  of  a  trochaic  dipody,  forms 
together  with  the  following  thesis  the  ending  of  a  word, 
that  word-ending  must  be  iambic,  not  spondaic  or  ana- 
paestic. Thus,  for  example,  we  may  have  as  an  iambic 
dipody  aliquantulo,  ad  iudices,  and  the  like ;  but  not 
si  dixissent  or  ut  de'ciperent.  It  is  clear,  therefore,  that 
Terence  did  not  treat  the  odd  and  even  feet  exactly  alike, 
although  he  did  not  make  the  same  difference  between 
them  that  the  Greeks  did. 


THE   VERSE   OF   TERENCE.  9 

A.  — IAMBIC  METRES. 

I.  —  The  Iambic  Trimeter,  or  Senarius. 

21.  This  is  the  metre  most  used  by  Terence.  His 
plays  contain  a  little  more  than  six  thousand  lines,  and 
of  these  more  than  half  are  senarii. 

The    senarius    consists   of   six    iambic   feet,   or   three 

iambic  dipodies  {i.e.  pairs  of  feet).     The  iambus  is  w  -L. 

As  iambic  and  trochaic  lines  are  measured  by  dipodies, 

the  normal  scheme  will  be 

w^-|wJ_[    kj  J-  I  \j  J_  I    \j  -L  |  \j  _!_ 

The  mark  of  accent  is  usually  placed  over  the  first  thesis  (or  the 
first  syllable  of  it  if  it  is  resolved)  in  each  dipody,  but  not  over 
the  second.  The  reason  is  that  the  first  thesis  in  each  dipody 
had  a  stronger  ictus  than  the  second.  Many  printed  texts 
(like  that  of  Dziatzko)  have  the  accents  thus  placed  in  each 
line  to  guide  the  student. 

22.  The  tribrach  (u^u),  the  metrical  equivalent  of  the 
iambus  (^  — ),  is  admitted  in  every  foot  except  the  last. 

23.  The  irrational  spondee  (>— ),  the  apparent  dac- 
tyl (>  w  w),  the  shortened2  anapaest  {y^>  -£-),  and  the 

1  Throughout  this  work  the  dot  is  used  to  denote  a  weaker  or 
secondary  ictus,  as  in  the  Greek  Grammar  of  Hadley  and  Allen. 

2  It  has  often  been  stated  that  the  anapaest  substituted  for  an 

iambus  is  cyclic  (w  w-^-  with  the  musical  notation     T     ■  ,   \.     This 

•      9  0'' 

seems  very  doubtful.  It  is  more  probable  that  "  the  two  short  syl- 
lables were  rapidly  pronounced  in  the  time  of  one"  (Hadley- Allen 
1089).  For  want  of  a  better  name  I  have  called  the  anapaest  when 
thus  used  the  "shortened"  anapaest,  to  indicate  the  "correption" 
of  the  two  shorts. 


10 


AN  INTRODUCTION  TO 


proceleusmatic  (y^j  \j  w)  are  admitted  in  every  foot 
except  the  last. 

The  last  foot  is  always  an  iambus  or  a  pyrrhic  (^  v) 
treated  as  an  iambus,  the  last  syllable  of  the  line  being 
syllaba  anceps. 

The  main  caesura  is  usually  after  the  arsis  of  the  third 
foot  ("penthemimeral  caesura");  but  it  sometimes  comes 
after  the  arsis  of  the  fourth  ("hephthemimeral  caesura"), 
in  which  case  it  is  usually  accompanied  by  a  caesura 
in,  or  a  diaeresis1  after,  the  second  foot. 

24.  The  following  scheme  shows  the  possible  sub- 
stitutions in  each  foot : — 


> 

/ 

> 

— 

> 

/ 

> 

— 

> 

/ 

w 

v>  \y 

w 

\J  \J 

\y 

\j  ^/ 

\y 

\y  w 

\y 

w  \_/ 

> 

\y  w 

> 

\y  \j 

> 

w  \j 

> 

W  v^ 

> 

w  w 

\J^> 

— 

V-A^ 

— 

\^y 

— 

^AJ 

— 

^KJ 

— 

KJ^> 

w  \y    \ 

\^KJ 

w  w 

\y^j 

\^  \j 

^A_/ 

w  w 

\^\-/ 

\j  w 

25.    The  following  are  examples  of  the  senarius  :  — 
And.  555:  amanti(um)  ir(ae)  amoris  integratiost  = 

w  -L  I  w  J-   I    w  -L  I  kj  ||  _L   I    u^|wJL 

This  line  follows  the  normal  scheme,  having  no  sub- 
stituted feet.  The  caesura,  however,  is  hephthemi- 
meral. 


1  When  a  word  ends  within  a  foot  the  break  is  called  a  caesura, 
but  when  the  end  of  the  word  coincides  with  the  end  of  the  foot  it  is 
called  a  diaeresis. 


THE   VERSE   OF  TERENCE.  11 

And.  164:   mala  mens,  malus   animus,     quern  quid(em) 
ego  si  sensero  = 


\^\j  \y  \y 


> 


This  line  shows  to  what  an  extent  substitution  is  some- 
times carried.  It  has  a  shortened  anapaest  in  the  first 
foot,  a  proceleusmatic  in  the  second,  irrational  spondees 
in  the  third  and  fifth,  and  a  tribrach  in  the  fourth. 
The  caesura  is  the  ordinary  "  penthemimeral  "  one. 

Heaut.  132  :    quern  pariter  ut(i)  his  decuit  aut  eti(am) 
amplius '  = 
v-    /       1        •l^.n'       1        •  /i        • 

>    \J    \J     \     \J   I      >     (I     U    V     I     W   I      VAV    —    I    U   

This  line  has  apparent  dactyls  in  the  first  and  third 
feet,  and  a  shortened  anapaest  in  the  fifth. 

26.  As  an  instance  of  a  connected  passage  in  senarii, 
with  the  lines  divided  into  feet,  the  following  may  serve : — 

Ad.  64  ff. : 

Nimium  ijps(e)  est  du]rus  [|  prae|ter  ae|quomque  et  | 

bonum, 
et  er[rat  lon|ge  ||  mea  |  quidem  |  senten|tia, 
qu(i)  imperi|um  crejdat  ||  gravi|us  es|s(e)  aut  stabi|lius 
vi  quod  I  fit,  qu(am)  il|lud  ||  quod  a|miciti|(a) 

adiun|gitur. 

1  In  this  work  the  final  syllable  of  each  verse  will  often  be 
marked  long  or  short  as  the  rhythm  may  require,  without  reference 
to  its  natural  quantity. 


12  AN  INTRODUCTION  TO 

27.  The  movement  of  the  iambic  trimeter  may  be 
illustrated  by  the  following  lines  in   English  :  — 

"  The  tempest  nears  us  ;  darkly  rolls  the  angry  sea. 
The  thunder  mutters  ;   lightnings  leap  from  cloud 
to  cloud." 

28.  The  senarius  is  the  verse  of  ordinary  narrative 
and  dialogue.  The  so-called  diverbia  (see  52)  are  in 
this  metre. 

29»     The  following  points  deserve  special  notice:  — 

(1)  A  monosyllable  rarely  comes  immediately  before  the  caesura. 

(2)  The  so-called  "  rule  of  Porson"  (that  when  the  fifth  foot  is 
cut  by  a  caesura,  the  syllable  before  that  caesura,  if  it  is  not  a 
monosyllabic  word,  is  usually  short)  is  not  observed  by  Ter- 
ence ;  but  the  fifth  thesis,  if  resolved,  is  rarely  divided  by  a 
caesura. 

(3)  The  proceleusmatic  is  admitted  only  when  the  resolved  arsis 
and  thesis  belong  to  the  same  foot.  The  third  syllable,  which 
beai's  the  ictus,  must  begin  a  word,  and  the  ictus  and  word- 
accent  must  coincide.  This  foot  occurs  chiefly  at  the  begin- 
ning of  a  line. 

(4)  Substitutions  and  shortenings  are  most  frequent  in  the  first 
foot. 

(5)  An  anapaest  is  not  admitted  immediately  after  a  dactyl. 

(6)  The  fifth  foot  must  not  be  a  pure  iambus,  except  (a)  when 
the  line  ends  with  a  word  of  four  or  more  syllables  ;  (b)  when 
the  line  ends  with  a  word  which  forms  a  cretic  ( —  w  — )  ; 

(c)  when  the  line  ends  with  an  iambic  word  preceded  by  a 
word  which  is  a  Fourth  Paeon  (w  w  \j  — )  or  by  an  ana- 
paestic word  which  itself  is  preceded  by  a  short  final  syllable  ; 

(d)  when  a  change  of  person  precedes  the  sixth  foot;  (e)  when 
elision  occurs  in  the  fifth  or  sixth  foot.1 

1  This  rule,  which  embodies  in  concise  form  the  results  of  the 


THE   VERSE  OF  TERENCE. 


13 


II.  —  The  Iambic   '-Tetrameter  Catalectic,"  or 
Septenarius. 

30.  This  is  not  strictly  a  catalectic  tetrameter,  though 
often  so  called,  but  a  real  septcnarius,  consisting  of 
seven  and  a  half  iambic  feet. 


Hence  it  does  not  end  in 


J-  like  the  Greek   tetrameter, 


but  in   w  _L  I  H,  and  the  penultimate  syllable  is  sometimes 
resolved. 

31.  The  irrational  spondee,  tribrach,  apparent  dactyl, 
shortened  anapaest,  and  proceleusmatic  are  admitted  in 
any  of  the  complete  feet.  There  is  usually  a  diaeresis 
after  the  fourth  foot,  which  must  then  be  a  pure  iambus. 
When  this  diaeresis  is  lacking,  there  is  generally  a  cae- 
sura after  the  arsis  of  the  fifth  foot.  The  full  scheme 
of  substitution  is  as  follows:  — 


w     -L 

e  -l 

w     -L 

W       - 

w     -L 

w      J_ 

w  w  w 

www 

www 

www 

www 

www 

>   W  w 

>  ww 

>    WW 

>   w  w 

>     WW 

>    WW 

ww    

ww 

WW     

WW     

WW     

WW     

W.^  W  W 

WW  w  w 

WW  w  w 

WW  w  w 

WW  w  w 

WW  w  w 

> 

w 

/ 

w 

w  w  1 

> 

w  w  1 

WW 

—    1 

WW 

w  w  1 

w    A 


When  there  is  a  diaeresis  after  the  fourth  foot,  the  verse  is 
dicolic,  i.e.  composed  of  two  separate  and  quasi-independent 
groups  of  feet  (/ctDXa).  Hence  hiatus  and  syllaba  anceps  some- 
times occur  at  the  end  of  the  fourth  foot,  and  the  fifth  foot  is 
treated  with  especial  freedom,  as  though  it  began  a  line. 


tigations  of  Luchs  (Studemund's  Studien,  I.  1-75)  and  others, 
is  stated  above  substantially  as  in  Gildersleeve's  Latin  Grammar, 
edition  of  1894,  p.  466. 


14  AN  INTRODUCTION  TO 

32.  The  following   are  examples  of  the  iambic  sep- 

tenarius  :  — 

Phor.  178:    is   est   fpsus.      ei    timed   miser,   qu(am)   hie 
mihi  nunc  nuntiet  rem  = 

k*j  J-  I  \j  JL   I    w-L\kj—\\>\!/kj\>—\    w^-|^A 

Heaut.  737:  iube  maneat.    i.    quin  e'st  parat(um)  arge'n- 
tum.     quin  ego  maneo  = 

Observe  the  proceleusmatics  in  the  first  and  seventh  feet.  Some 
grammars  state  (wrongly)  that  only  the  tribrach  and  iambus 
are  admitted  in  the  seventh  foot ;  the  apparent  dactyl,  shortened 
anapaest,  and  proceleusmatic  are  sometimes  found  there. 

33.  Compare  in  English  :  — 

"A  captain  bold  of  Halifax,  who  lived  in  country 
quarters." 
The  iambic  septenarius  occurs  only  in  comedy,  and 
is   used  chiefly  in  lively  dialogue.     About  one-fifteenth 
of  Terence  is  in  this  metre. 

III.  —  The   Iambic  Tetrameter  Acatalectic,  or 
Octonarius. 

34.  This  verse  consists  of  four  iambic  dipodies,  or 
eisht  full  iambic  feet.  The  same  substitutions  as  in 
the  septenarius  are  admitted  in  the  first  seven  feet. 
The  last  foot  is  always  an  iambus  (or  a  pyrrhic  measured 
as  an  iambus,  the  last  syllable  being  syll  anceps).  The 
main  caesura  is  usually  after  the  arsis  of  the  fifth  foot. 


THE   VERSE   OF  TERENCE. 


15 


Sometimes,  however,  there  is  instead  a  diaeresis  after 
the  thesis  of  the  fourth,  which  foot  must  then  be  a  pure 
iambus.     The  scheme  of  substitutions  is  as  follows  :  — 


w  —  i  w  — 

w  uul  W  W  W 
>  W  W  I  >  W  W 

WW  I  WW  

ww  w  w  ,  ww  w  w 


w  —  I  w  — 

w  w  w  I  w  ww 
>  uu|  >  w  w 
ww  I  ww  

WW  W  W  WW  w  w 


w   —  I  w   

w  w  w  I  w  w  w 

>  w  w  I  >  w  w 

WW  !  WW  

WW  W  W  WW  w  w 


w  w  w| 
>  ww| 

WW  I 

WW  w  wl 


35.    The  following  are  examples  of  the  octonarius  :  — 

And.  394-397  : 

patri   die  vell(e),  ut,  quom  velit,   tibi   iiir(e)   irasci 

non  queat. 
nam   quod    tu    speres   '  prdpulsabo   facile   uxor(em) 

his  mdribus ; 
dabit    ne'm(o)':    inveniet    inopem    potius    quam    te 

corrumpi  sinat. 
sed   si    t(e)    aequ(o)    animo    fe'rre    accipiet,    ne'cle- 

gentem  feceris  = 


w     J-   I     >     -1 
>    -L\    >    J_ 


w 

>    _L 

ww  —  I    >  w  w    I    www    I    >ww 


>  -L 

>  -L 


I   w    _L     ||    ww    J-    I    >  J_    I    > 


>    -L  I    >0 


> 


> 


w  w 


>  II  WW  I      > 

>  II    -!-    I    > 

>  II  -L   I  w 


>-L  I  w  J_ 

>J-|uJ 
>  J-  I   w  JJ 


36.    Compare  in  English  (if  written  as  one  line):  — 

"  On  Linden  when  the  sun  was  low,  all  bloodless 
lay  the  untrodden  snow." 

This  metre,  like  the  preceding,  is  used  chiefly  in  lively 
dialogue.  A  little  more  than  eight  hundred  lines  in 
Terence  are  iambic  octonarii. 


16 


AN  INTRODUCTION  TO 


IV.  —  Other   Iambic   Metres. 

37.  These  are  comparatively  rare  in  Terence,  and 
occur  chiefly  in  clausulae  (see  53).  The  most  impor- 
tant is  the  iambic  dimeter  acatalectic,  or  quaternarius, 
consisting  of  two  complete  iambic  dipodies  or  four  iambic 
feet.  Terence  admits  the  irrational  spondee,  tribrach, 
apparent  dactyl,  and  shortened  anapaest  (but  not  the 
proceleusmatic)  in  the  first  three  feet.  The  last  foot 
is  always  an  iambus  or  a  pyrrhic,  the  last  syllable  being 
'■anceps.'1     The  scheme  is:  — 


> 

\~/    . — 

ww     


s  -l  1  ^  w 

w  w  \j  1 

>     WW  J 

ww    


38.    Examples  are  :  — 

And.  240  :  miseram  me  quod  verb(um)  audio 


>  —      > 


Enn.  209  :  rogitare  quasi  difficile  sit 


w  w  W 


>  w 


W   W        w 


The  catalectic  iambic  dimeter  occurs  a  few  times 
(And.  485,  Hec.  731).  It  is  like  the  preceding,  except 
that  the  last  foot  is  incomplete. 

In  Ad.  6ioa,  if  the  arrangement  adopted  by  Dziatzko  is  correct, 
is  found  a  catalectic  iambic  ternarius  (i.e.  a  verse  of  two  and 
a  half  iambic  feet)  with  substituted  dactyl  and  tribrach  : 
discriicior   animi  =      >  w  w  |  w  w  w  |  •      The  line  may, 


THE   VERSE   OF  TERENCE.  17 

however,  be  regarded  as  an  imitation  of  the  Greek  dochmius 

(\j -L \j  -L ),    with    the    first    two   longs    resolved.      (See 

Dziatzko's  Adelphoe,  p.  117.)  The  following  line,  6iot>,  is  an 
iambic  quaternarius  followed  by  a  syncopated  catalectic  iambic 
quaternarius1 :  — 

hocine  d(e)  improvise  mali  mih(i)  obici  tantum  = 


B.  —  TROCHAIC  METRES. 

39.  Terence  does  not  admit  the  proceleusmatic  {<[>  \j  \j  \j} 
as  a  substitute  for  the  trochee  (—  w),  though  Plautus  some- 
times does. 

I.  —  The  Trochaic  Tetrameter  Catalectic,  or 
Septenarius. 

40.  This  consists  of  seven  and  a  half  trochaic  feet. 
The  tribrach  (^  \j  w)  is  admitted  in  any  of  the  complete 
feet,  and  the  irrational  spondee,  cyclic  dactyl,2  and 
apparent  anapaest  (respectively  —  >,  -O  \j,  \j^  >)  are 
allowed  in  any  of  the  first  six  feet.  The  seventh  foot 
is  usually  a  trochee,   but   a   tribrach  sometimes  occurs 

1  This  kind  of  verse  (versus  Reizianus)  occurs  repeatedly  in 
Flautus.  For  other  theories  as  to  the  nature  of  the  last  part  of  the 
line,  see  Gildersleeve  S22. 

2  It  is  very  doubtful  whether  the  dactyl  thus  substituted  for  a 
trochee  is  really  cyclic.  I  have,  however,  adhered  to  the  prevailing 
terminology.  The  two  shorts  were  probably  rapidly  pronounced  in 
the  time  of  one,  and  if  so  the  foot  should  be  marked  _£.  ^,  instead 
of  — O  \-/-     Cf.  p.  9,  note  2. 


18 


AN  INTRODUCTION  TO 


there.  The  principal  break  in  the  line  is  usually  a 
diaeresis  directly  after  the  fourth  foot,  which  in  that 
case  must  not  be  a  dactyl.  Sometimes  there  is  instead 
a  diaeresis  at  the  end  of  the  fifth  foot,  which  is  usually 
accompanied  by  another  diaeresis  after  the  third  foot 
or  by  a  caesura  in  the  fourth.  An  anapaest  is  not 
allowed  to  follow  a  dactyl.  The  full  scheme  of  sub- 
stitutions is  as  follows  :  — 


/  >  i  > 

—  w  i  w 

W  W  W  |  W  W  W 

W  W  W      W'  V^  > 


> 

W 


W 


W  W    V|  W    W 

— w    w  I  — w    w 
w  w    >    w  w    > 


WW   w  |  w  w   w 
WW    >     w  w    > 


-^     w 

w  w  w 


w  A 


41.    Examples  of  this  metre  are:  — 

And.  360:  paulul(um)  obson(i);  fpsus  tristis ;  d(e)  fnpro- 
viso  niiptiae  = 

^w|^>|-£>U>||-A>| 


> 


A 


Ad.  544-548: 

quid  hoc  mal(um)  infeh'citatis  ?  nequeo  satis  decernere, 
nisi  me  cred(o)  huic  esse  natum  rei,  ferundis  mfseriis. 
primus  sentio  mala  nostra,  primus  rescisc(o)  omnia, 
primus  porr(o)  obniinti(o),  aegre  solus,  si  quid  fit,  fero  = 


w  "^  vy 

w  w  > 
J-  > 
-L  > 


JL  >    I    -L    w 
—  w        -C  w 


_L  > 


w 


-->||ww>|Ow>|  -L  kj  I  _L 
—  >  ||  J-  w|  JL.  >  |  w  w  w  |  _1_ 
^.w||_L>|^.>|_^w,|_L 

_L>||^>|_^>|^-w|^- 


A 
A 
A 
A 


42.    Compare  in   English:  — 


THE   VERSE  OF  TERENCE. 


19 


"  Tell  me  not  in  mournful  numbers,  life  is  but  an 
empty  dream." 
The  trochaic  septenarius  is  more  used  by  Terence 
than  any  other  metre  except  the  iambic  trimeter.  About 
one-fifth  of  the  total  number  of  lines  in  his  plays  are 
trochaic  septenarii.  This  is  the  ordinary  metre  of  lively 
narrative  and  dialogue. 

Observe  that  when  the  tribrach  occurs  in  trochaic  metre  it  has 
the  ictus  on  the  first  syllable,  but  when  it  occurs  in  iambic 
metre  it  has  the  ictus  on  the  second. 


II.  —  The  Trochaic  Tetrameter  Acatalectic,  or 

OCTONARIUS. 

43.  This  consists  of  four  complete  trochaic  dipodies, 
or  eight  trochaic  feet.  The  tribrach,  irrational  spondee, 
and  irrational  anapaest  are  admitted  in  any  foot,  and 
the  cyclic  dactyl  in  any  but  the  last.1  There  is  usually 
a  diaeresis  at  the  end  of  the  fourth  foot,  and  in  that 
case  the  fourth  foot  must  not  be  a  dactyl.  Sometimes 
there  is  instead  a  caesura  in  the  fourth  or  fifth  foot. 
The  scheme  of  substitutions  is  as  follows  :  — 


J-  t 

.   > 

— ,  w 

-L    w 

_L  w 

-L    w 

> 

w 

JL    w 

> 

— .  w 

w  w  w 

w  w  w 

www 

www 

w  w  w 

www 

w  w  w 

www 

-w  w 

— w  W 

— w  w 

— w  w 

— w  w 

— w  w 

-^w 

w  w  > 

ww> 

WW  > 

w  w  > 

WW  > 

w  w  > 

w  w  > 

w  w  > 

1  The  last  syllable  of  the  line  is  syllaba  anceps,  so  that  an  ana- 
paest may  arise  by  resolution  of  the  last  thesis;  e.g.  aninii  in  Phor. 
187;  but  as  the  last  arsis  is  never  resolved,  no  dactyl  can  arise  in 
the  last  foot. 


20  AN  INTRODUCTION  TO 

44.    Examples  are  :  — 

Ad.  160  :  Aeschin(e),  audi,  ne  t(e)  ignarum  fuisse  dicas 
medium  morum  = 

J-^j\->\j->\->\\J-^\^>\j->\^^ 

Phor.  187-188: 

Heii  me  miserum !  quom  mihi  paveo,  t(ura)  Antipho 

m(e)  excruciat  animi : 
Eius  me  miseret,  ef  nunc  time(o),  is  nunc  me  retinet; 

n(am)  absqu(e)  e(o)  esset  = 


V-/WV-/I       -^-     ->     I     W  W  -"="     II        -    ^"    \     \J  ^J  ^     \       —    \J  —KJ 


-£->]  £i\j\j  I    i>wu>U>     Ow>l      ' 


45.  Compare  in  English:  — 

"  Beams  of  noon,  like  burning  lances,  through  the 
tree-tops  flash  and  glisten." 

The  trochaic  octonarius  is  comparatively  rare  in  Ter- 
ence. Like  the  septenarius,  it  is  used  in  lively  dialogue, 
but  unlike  the  former  it  is  a  purely  lyric  metre.     See  52. 

III.  —  Other  Trochaic   Metres. 

46.  The  trochaic  dimeter  catalectic  or  quaternarius 
is  repeatedly  used  by  Terence  {e.g.  And.  246,  Heaut.  178, 
Eun.  747,  Phor.  729,  Hec.  520,  ib.  850,  Ad.  158,  524(F), 
616  (?)),  generally  as  a  clausula  (see  53)-     The  scheme  is 

^J  \J  \J     I     \S  W  \J 
KJ  W  >         \J  \J  > 


THE   VERSE  OF  TERENCE.  21 

An  example  is  Phor.  729  : 

Aiit  und(e)  auxiliiim  petam  = 
J-  >  I  -\j  v   I  J-  \j  I  —  A 

The  trochaic  monometer  catalectic  occurs  twice  (Eun. 
292,  Phor.  485),  both  times  at  the  beginning  of  a  canticum 
mutatis  modis  (see  52,  note  3).     The  scheme  is 

-L  ^   I  _L  A 

C.  — CRETIC  AND  BACCHIAC  VERSES. 

47.  Terence  uses  these  only  in  the  Andria.  The 
cretic  tetrameter  acatalectic  occurs  in  And.  626-634. 
The  fundamental  foot  is  the  cretic  (-£■  w  — ),  and  the  line 
consists  of  four  such  feet.  Either  (but  not  both)  of  the 
two  longs  (theses)  in  each  cretic  may  be  resolved,  except 
before  the  caesura  or  the  end  of  the  line.  In  the  first 
and  third  feet  an  irrational  long  may  be  substituted 
for  the  short  of  the  arsis.  The  principal  break  in  the 
line  is  usually  a  diaeresis  after  the  second  foot,  but 
sometimes  there  is  instead  a  caesura  after  the  first 
thesis  of  the  third.  The  second  thesis  of  each  cretic 
has  a  weaker  ictus  than  the  first,  and  hence  is  usually 
written  without  an  accent.      The  scheme  is 

*        ">         *        I       *  II         *       ~>        *         t        ■**  • 


22  AN  INTRODUCTION  TO 

48.  Examples  are  :  — 

And.  627  :  lit  malis  gaiideant  atqu(e)  ex  incdmmodis  = 

i.uJ.|i-uJ.|i.>^|'-iuJ. 

lb.  632  :  turn  coactf  necessario  s(e)  aperiunt  = 

/  •     I      /  •     I      /  •      II      f  • 

—  \j  I  —  ^y  |  —  w  ||   u  v  w  

49.  The  bacchiac  tetrameter  acatalectic  occurs  in  And. 
481-484  and  637-638.  The  fundamental  foot  is  the 
bacchius  (w_^-_l),  and  the  line  consists  of  four  such 
feet.  Either  (or  both)  of  the  two  longs  (theses)  in  each 
bacchius  may  be  resolved,  except  before  the  principal 
break  or  the  end  of  the  line.  In  the  first  and  third 
feet  an  irrational  long  is  sometimes  substituted  for  the 
short  of  the  arsis.  The  caesura  is  usually  after  the  third 
or  fifth  thesis.  The  second  thesis  of  each  bacchius  has 
a  weaker  ictus  than  the  first,  and  hence  is  often  written 
without  an  accent.      The  scheme  is 

>        *  *        I  /      II         *        I      ~>         *  *        I  *         * 

W     WW    WW     I      Vy     ||      WW      I       W      WW     WW      J      W*     WW     ^. 

50.  Examples  are:  — 

And.  484:  nunc  prfmum  fac  ist(a)  ut  lavet ;  post  defnde  = 
>JL_L\v-L-L\v-I-\\  —  \v-L_i_ 

lb.  637:  at  tamen  'ubi  fides?'  si  roges,  nil  pude'nt  hic  = 


THE   VERSE   OE  TERENCE.  23 

D.— OTHER  METRES. 

51.    A  dactylic  tetrameter  occurs  once  in  Terence  :  — 
And.  625  :  hdcine  cre'dibile  aut  memorabile  = 

The  metre  of  Ad.  611-613  is  very  doubtful.  Dziatzko 
regards  v.  611  as  a  choriambic  trimeter  followed  by  an 
iambic  monometer  catalectic.  The  choriambus  being 
—  ^  \j  — ,  the  scheme  will  be 

lit  neque  quid  me  faciam  ne'e  quid  again  certiim  sit  = 

The  following  line  is  similar1:  — 

membra  metu  de'bilia  sunt ;  animus  timdre  = 

—  u  u  J.  I  —  w  v_y  G   |  —  w  wl  I  w-  I  w  A 

V.  613,  according  to  Dziatzko,  is  a  choriambic  trimeter 
followed  by  a  trochaic  monometer  acatalectic  :  — 

dbstipuit  :  pe'etore  consistere  nil  cdnsili  quit  = 

But  the  passage   is   differently  treated  by  Spengel  and 
others. 

1  As  final  n  in  debilia  (1.  612)  is  short  by  nature,  we  must  assume 
that  there  is  syllaba  anceps  at  the  end  of  the  second  choriambus. 
See  Dziatzko's  Adelphoe,  p.  107,  note. 


24  AN  INTRODUCTION  TO 


III. 


52.  A  Latin  comoedia  palliata  consisted  of  diverbia1 
and  cantica.  The  diverbia  were  the  scenes  in  iambic 
trimeters,  and  were  spoken  without  musical  accompani- 
ment;  while  the  cantica  were  sung  or  recited  to  music. 
In  some  of  the  Plautus  Mss.  the  diverbia  are  indicated 
in  four  plays  by  the  abbreviation  DV,  and  the  cantica 
by  C.  The  cantica  may  be  divided  into  two  classes,  the 
scenes  in  trochaic  and  iambic  septenarii2  and  iambic 
octonarii,  which  were  probably  recited  or  intoned  to  a 
musical  accompaniment,3  and  the  lyric  portions4  (includ- 
ing the  trochaic  octonarii),  which  were  sung  to  a  set 
tune.  These  lyric  parts  occur  only  at  the  beginning  of 
a  scene.  The  metres  in  them  change  and  alternate 
frequently;  but  the  laws  governing  these  changes  are 
not  known,  except  that  a  trochaic  octonarius  is  always 
followed  by  another  trochaic  verse. 


1  The  spelling  devcrbia,  which  is  favored  by  Dziatzko  and  Rib- 
beck,  but  opposed  by  Ritschl  and  Buecheler,  has  the  weight  of 
Mss.  authority  on  its  side;  but  diverbia  has  been  more  generally 
adopted. 

2  Cf.  Cic.  Tusc.  Disp.  I.  107,  cum  tarn  bonos  septenarios  fundat 
ad  tibiam.     He  is  speaking,  however,  of  iambic  octonarii. 

3  What  the  Greeks  called  irapaKaTaKoyr)  was  perhaps  of  this  sort. 

4  These  are  the  so-called  mutatis  modis  cantica,  which  as  Donatus 
tells  us  were  indicated  by  the  letters  M.M.C.  (i.e.  mutatis  modis 
canticum,  or  mutantur  modi  cantici)  in  the  Mss.  of  his  time. 


THE   VERSE   OE   TERENCE.  25 

53.  In  Terence  the  first  act  of  a  play  is  always  in 
iambic  trimeters,  and  the  end  of  the  last  act  in  trochaic 
septenarii.  In  general,  a  change  in  metre  is  usually 
accompanied  by  a  change  of  mood  or  of  situation.  In 
lyric  passages  and  at  the  end  of  stichic  series1  occur 
short  lines  (called  clausulac),  which  have  the  same  rhythm 
as  the  preceding  verses,  but  mark  some  kind  of  metrical 
or  musical  transition.  The  iambic  dimeter  acatalectic 
and  the  catalectic  trochaic  and  iambic  dimeter  are  often 
used  in  this  way.  As  to  the  music  used  in  the  plays, 
the  student  should  consult  the  article  by  Professor 
Howard  on  the  "AiAo's,  or  Tibia,"  in  the  "Harvard 
Studies  in  Classical  Philology,"  Vol.  IV.  (1893),  especially 
pp.  1-12,  20-30. 

1  I.e.  series  of  verses  of  the  same  kind  repeated  by  the  line. 


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